Indeed, the psychedelia of this film (and weirdness in general) is evident throughout almost every part of the film…EXCEPT THERE.

And so I must hesitantly call 2005’s Charlie and the Chocolate Factory a masterpiece.

Against all odds.

It’s only fitting that the lead child actor who plays Charlie Bucket (Freddie Highmore) was born on Valentine’s Day.

Yes Virginia, perhaps some things are fated.

Highmore is fantastic in a role created by Peter Ostrum.

And though we miss Diana Sowle and her priceless rendition of “Cheer Up, Charlie”, Helena Bonham Carter is quite magnificent in her limited scenes as the cabbage-cutting Mrs. Bucket.

But Tim Burton updates our story considerably to make it more relatable to the Harry Potter generation (and the service-industry pipe dream known as the “third industrial revolution”…for the “adults” in the crowd).

Yes, we needs must only revisit Eliyahu Goldratt’s “business novel” The Goal to remember the shortsighted “local efficiencies” which factory robots can produce.

By the way: there’s a father Bucket. And he runs into a patch of robot trouble.

Updated.

But Tim Burton does not stop there. Whereas the original film focused tentatively on child spies (remember the purloined Everlasting Gobstopper?), the film under review seems to situate itself amidst the full-scale industrial espionage (and, in particular, intellectual property theft) which the United States attributes to China.

But let us pay our respects here.

David Kelly was fantastic as Grandpa Joe. Truly a wonderful performance! And we are sad to have lost his talents in 2012.

-AnnaSophia Robb is appropriately snotty as the overachieving brat Violet Beauregarde [How did Tarantino not hire this girl for his next refried kung-fu film?!?]

-Julia Winter (who strangely has no Wikipedia page) is really special as the mouthy tart Veruca Salt

-and Jordan Fry plays Mike Teevee (though they might as well have gone with “Hacker” Mike Xbox or some such first-person shooter sobriquet).

And that leaves us with the big dog himself: Johnny Depp.

Stepping into some very big shoes.

Gene Wilder. Taken from us just months ago. A truly magical being.

And so Depp and Burton needed a strategy.

And it appears it was something like, “Ok, let’s make him weirder. Like, lots weirder. Remember those sunglasses Keith Richards wore on Between the Buttons? And the hair like Brian Jones. Prim. Proper. Rocker. Ok, ok…but we want the Salinger recluse thing with some Prince or Michael Jackson oddity. Purple velvet. Ok, yes…we’re getting somewhere.”

Most striking, however, is Depp’s accent. Very Ned Flanders…but possessed by the thoughts of Salvador Dalí.

But the Burton touch shows through. That macabre glee.

A little cannibalism joke here. “Which half of your child would you prefer?”

Oddities.

Though tempered by quick-tongued childlike wonder, Depp is still a rather darker Wonka than Wilder’s fatherly archetype.

Yes, Depp could fit fairly well into Kraftwerk (especially germane had Augustus from Düsseldorf won the grand prize).

Johnny and his purple latex gloves.

Not a touchy-feely Wonka.

Doesn’t even bother to learn the kids names. [there’s only five]

Totally off his rocker.

Makes Gene Wilder’s Wonka seem like Mister Rogers in comparison.

But this is mostly secondary to the success of this film.

Tim Burton evidently didn’t feel making a true family film was beneath him.

And so, perhaps with a bit of inspiration from Wes Anderson, he made an immensely touching picture here.

Charlie Bucket is the kid we need in the world.

The chosen one.

The needle in the haystack.

And it is Wonka’s quest to find such a unique child.

Charlie almost gives up the ticket (sells it) to help his desperately poor family, but one of his four bedridden grandparents must have read Hunter S. Thompson at some point. And so Charlie is convinced to “buy the ticket, take the ride” so to speak.

It’s a once-in-a-lifetime opportunity.

Enter Deep Roy (Mohinder Purba) as ALL (and I mean all) of the Oompa-Loompas.

It is in the short (!) song sequences where Burton’s debt to David Lynch emerges.

Kind of like Danny Elfman’s debt to Tom Waits.

Comes and goes.

Burton, being the mischievous connoisseur of all things dark, manages to make Veruca’s exit an homage to Hitchcock and Tippi Hedren (albeit with squirrels).

Very inventive!

Sure, there’s some crap CGI in this film (not to be confused with the even more insidious Clinton Global Initiative), but it is generally restrained.

At a few points, it gets off the rails and threatens to damage an otherwise fine film.

But I tell you this…there are plot twists here which for someone who has merely seen the first film (like myself) truly baffle and surprise.

And they are touching.

So it is with no reservations that I call this a family film.

Sure, some of the jokes are a bit obtuse.

But the framing story (the Bucket family’s existence) is indescribably magical.

It is then, only fitting, that Christopher Lee be the one to welcome the prodigal oddball Depp.

Which is to say, this film has a sort of false ending…which is inexplicable…and genius.

It is at that moment where the film finds its soul.

Family.

Love.

Humility.

Sacrifice.

Happily, Burton gives us a fairy tale ending in which the young mind can work with the eccentric master…and the eccentric master can once again know what home is like.

-Department of Justice (Intelligence Branch [IB] of the Federal Bureau of Investigations [FBI] and Office of National Security Intelligence of the Drug Enforcement Administration [DEA])

In addition to these 12 agencies, there are four “peacocks”:

-Central Intelligence Agency (CIA [an independent entity])

-Office of Intelligence and Counterintelligence (OICI [of the Department of Energy])

-Bureau of Intelligence and Research (INR [of the Department of State])

and finally George Clooney’s armory in Burn After Reading:

-Office of Terrorism and Financial Intelligence (TFI) [of the Department of Treasury]).

But we must remember that the U.S. Secret Service (USSS) was, until 2003, also part of the Department of Treasury. Clooney’s character Harry Pfarrar speaks of his previous work protecting diplomats as a “PP”. Personal protection? Personnel protection?

Nevertheless, we learn something of which even the other D.C. “natives” in our film seem unaware: that certain Treasury Department employees carry guns.

This, of course, ends up being a big detail in Burn After Reading.

And so the main thing is to understand the CIA analyst played adeptly here by John Malkovich.

The Balkans Desk.

-Joint Base San Antonio, Texas

-Fort Belvoir, Virginia

-Suitland, Maryland

-Suitland, Maryland? Or Quantico, Virginia?

-Joint Base Anacostia-Bolling, Washington, D.C.

-Fort Belvoir, Virginia

-Chantilly Lace and a Pretty Face, Virginia (oh baby that’s 9/11!)

-and Fort Meade, Maryland

[continuing]

-Anacostia? [D.C.]

-DHS Nebraska Avenue Complex, Washington, D.C.

-J. Edgar Hoover Building [D.C.]

-Arlington County, Virginia? [DEA]

-Langley, Virginia

-James V. Forrestal Building (D.C.) [DoE]

-Foggy Bottom (Harry S. Truman Building) [D.C.]

and

-1500 [sic] Pennsylvania Avenue (USA)

All of this is to say that Osbourne Cox (Malkovich) is “a damned good analyst”.

But forget the “PP”.

Georege Clooney is a U.S. Marshal. And thus under the Department of Justice umbrella.

Right?

All of this makes me sympathize with the witless Linda Litzke (Frances McDormand) and Chad Feldheimer (Brad Pitt).

But the funniest part is the repartee between David Rasche and J.K. Simmons over at Langley.

The implication is that a couple of athletic trainers and an alcoholic former analyst (plus a U.S. Marshal) have spun a web of inexplicable disaster even more boneheaded than the Bay of Pigs invasion.

And so it is priceless to hear these two gentlemen speak in tones of which Leo G. Carroll would no doubt have approved.

First, I owe a deep apology to my fellow bloggers who have continued to follow and support me. I have been swamped with work and embroiled in the current US election. Thank you so much for your kindness! I look forward to graduating with a master’s degree in about a month and hope to “get back on the wagon” of following each and every one of your amazing blogs.

Second, my conscience requires that I addend my previous takes on two very controversial figures: Marina Abramović and Edward Snowden.

As I have continued my research on Ms. Abramović, I am more and more convinced that her dabblings in the occult are not mere innocent instances of artistic expression. I still do not know what role she plays in the increasingly lurid child sex ring which is leaking from NYPD and FBI sources, but her buddies the Podestas (John Podesta, Hillary’s campaign chairman, and his brother Tony) seem more and more solidly “in the tank” as regards genuine sexual abuse of minors, child trafficking, and (even more shocking) ritualistic murder of these same kidnapped children.

I am not saying that the Podestas are guilty of these crimes. I am, however, pointing out that mounting evidence suggests they are part of something which bears this general outline. Also involved is the (likely) Saudi spy Huma Abedin. But the kingpins seem to be the Clintons themselves.

I was a bit dismissive of hysteria when I defended Marina Abramović’s artistic merits. I do still think she is an incredibly gifted artist. But no amount of genius excuses child rape and ritualistic murder of young people. [We shall be discussing here a similarly “brilliant” psychopath: Lex Luthor.]

Quite frankly, Hillary Clinton seems to be a witch in the most literal sense.

Lexi Luthor?

Lexus Luthor?

It was my imperfect knowledge which caused my failure to grasp the bigger picture in the Abramović case (“spirit cooking”, in which the Podesta brothers and John’s wife Mary engaged in presumably a dinner with artist Marina Abramović which likely involved ingesting breast milk, semen, urine, and blood).

But there is more to “spirit cooking”…and more to Marina Abramović.

First, it has been suggested that the TRUEST (most genuine) “spirit cooking” would be, essentially, cannibalism: eating the flesh or organs of spirits (dead children) who are cooked.

Second, Abramović’s references are not anodyne. I cannot get into the details of “spirit cooking’s” connections to Aleister Crowley and Thelema because I am not conversant in such esoteric knowledge. But I can confirm that child sacrifice is an obsession of the ruling elites in at least the US and UK (as evidenced by the opening ceremonies of Bohemian Club meetings near San Francisco which are documented to include a “mock” child sacrifice called “the cremation of care”).

My conclusion that Hillary Clinton truly practices illegal manifestations of magic is partly due to the words of former Clinton family employee Larry Nichols who is on record as saying that Bill Clinton told him that Hillary Clinton would make monthly (at least) treks to California to participate in a witches’ coven. You can bet she wasn’t playing second fiddle at these shindigs!

And so what my readers must understand is that, for these perverse elites, black magic is very real. At the very least, it appears that they are engaged in illegal activities pursuant to these ritualistic leanings. And thus, as stated, my take on Marina Abramović was both uninformed and naïve insofar as occult context goes.

Hillary Luthor.

vs. Superman.

I must make a further confession. I may have done injustice to Edward Snowden to be so skeptical of his aims. The same goes for my suspicion of Glenn Greenwald and Laura Poitras.

And I’ll tell you why.

The majority of real news we are getting in the USA is thanks to WikiLeaks.

Edward Snowden has certainly been lumped in with Julian Assange.

To my satisfaction, Julian Assange and WikiLeaks have proven themselves to be a credible (and priceless) asset for world freedom.

And so perhaps I was too harsh on Snowden.

One thing is certain: we must remember that the eyes are the most easily-fooled of our senses.

So for me to proclaim, as an amateur film critic, that I know the score of Snowden’s veracity should not be taken as gospel truth.

Superman.

Is Edward Snowden the Superman in this whole thing?

Is Assange?

Actually, I would make the case that it is (rather) Donald Trump who is the true Superman on the world stage at the moment.

And it is indeed germane that he be facing off against Hillary Luthor.

And so we have a brilliant movie.

From director Richard Donner.

This is what superhero movies should be like.

Back when CGI didn’t suck (and the Clinton Global Initiative was yet to exist).

Superman brings hope.

To the deepest, darkest, most depressed and forgotten corners of America.

Not insignificant, Superman is a journalist by day.

The names here are blockbuster.

Marlon Brando as Superman’s biological father.

Perhaps James Comey is like Brando’s character Jor-El (who pronounces judgment against insurrectionists but then must acquiesce to the fate of death for he and his wife).

Which is to say, maybe James Comey of the US FBI is an honorable man.

Sure doesn’t seem like it.

But from surrender, a child is borne upon the seas of outer space.

Glenn Ford is excellent as Superman’s adoptive father.

Phyllis Thaxter is wonderful as Superman’s adoptive mother.

Jeff East is very good as the teenage Clark Kent.

Superman is all about the outcast getting his revenge on society…BY DOING GOOD!

Are you an outcast?

Yes.

Me too.

And we all know pain.

The pain of discrimination. Not fitting in. Being the odd man out. The ugly duckling.

We can feel that the world (our little world) doesn’t want us.

And it is tremendously traumatic.

But Superman is a bit like Saint Jude the Apostle: patron saint of lost causes.

Superman speaks to the most lowly among us.

Schizophrenics. Shut-ins. Impoverished. Living in squalor.

Superman lets us dream.

We may have nothing but a VCR. We have never gone on a date, much less had a girlfriend.

The world has forgotten about us.

But Superman gives us hope.

That someone or some thing is going to come along and lift us out of our misery.

The Trump connection is strong.

Doesn’t drink. Doesn’t smoke.

Superman.

The World Trade Center (still standing) in the background (1978).

As Christopher Reeve zips through the New York City sky.

Mr. Reeve is astonishingly good as an actor in this film.

Enter Lois Lane.

Margot Kidder is so charming in this film 🙂

Her skinny little frame never stops moving as she tries to get the latest scoop in her job as a reporter.

But what else does Superman represent?

He represents the good cops who dive into the abyss each night to patrol the unpredictability of our streets.

He represents the good FBI who “damn the torpedoes” and go after the bad guys (and gals) [whomever they turn out to be].

Superman fights crime.

He never lies.

Superman is a protector.

Like the brave Secret Service agents who did a wonderful job shielding Mr. Trump two days ago in Reno from what could have been imminent gunfire.

Supermen are willing human shields.

Defenders.

Like our military.

And Superman does not suffer the deviance of pencil pushers who would try and leverage their brilliance to harm people.

If I was a Hillary supporter, I would compare Trump to Lex Luthor (realtors both).

But sometimes history offers us a counterintuitive option.

Donald Trump, while a realtor, is not out to screw the American public.

He has enough money.

He’s not a sycophant like Hillary.

The famous red “Make America Great Again” (MAGA) hat does not feature Trump’s name on it.

It’s not about him.

It’s about America.

Hillary’s campaign always comes back to her…in a self-serving way.

The ubiquitous H signs and the trite “I’m with her” détournement of a decades-old pop culture phrase.

There’s a moment in this film when a character says “shoot” instead of “shit”. It is the linchpin of the film. What follows is the strangest cut in James Bond history since Roger Moore abruptly went gaucho in Moonraker. But what we cut to is perhaps the first truly vicious, self-inflicted attack of self-parody the James Bond franchise has ever experienced. Yes, self-parody. Vicious. Like a postmodern vomit of confetti. This whole film. But mainly starting at the amorous activities which follow the word “shoot”.

Derrida would find his hinge for deconstruction at “shoot”. As if the film could not bear one more mild expletive and still retain its PG-13 rating.

But let’s dig a little deeper.

A series notorious for running low on creativity must have been thrilled to have the intellectual property rights to S.P.E.C.T.R.E. following the death of Kevin McClory. It was not just the death of McClory which allowed the franchise to resurrect its proto-NWO, but also the acquisition by MGM and Danjac LLC of McClory’s estate in late 2013.

And so things must have looked rosy for Eon Productions.

Sadly, they made a few blunders.

Those blunders became the ramshackle, mutilated would-be masterpiece Spectre.

And so just what were these mistakes?

My guess is that many of them occurred behind closed doors.

There are moments in this film at which a film school freshman could have done a better job reeling in the mise-en-scène than did Sam Mendes. But there’s a problem with that equation. Sam Mendes is not that bad a director. NO ONE wielding a nine-figure budget is that bad a director. And so chalk another crappy movie up to the real villains: MGM and Colombia Pictures. Credit Eon Productions likewise with rubberstamping this high-school-science-fair of a picture.

But we can’t let Mendes off that easily. I hope it was a good payday (again) Sam, because this film is generally a piece of shit.

HOWEVER…there are moments of what could have been. If the executives had kept their noses (and asses) out of the production process, this could have been a homerun.

Christopher Waltz is good when approached with Hitchcockean framing. As a silhouette. You can feel Mendes reaching for Mulholland Dr. But as per the Sony hacks, eventually you have to show the guy (or do you?). Suffice it to say that Mr. Waltz is the least-scary Bond villain ever and barely more creepy than Jar Jar Binks.

And so it becomes obvious that cost cutting has its downside. Who was the other bloke they were going to get for the villain? Who cares. Waltz sucks royally. And yet, he is more competent as an actor than the film is solid in structural integrity.

As a whole, Spectre is a disaster which should never have made it out the door of the dream factory. Anyone with an artistic bone in their body could have “fixed” this film. Mendes was apparently not allowed to actually direct.

Fix number one would have been cutting an hour’s worth of superfluous meh. I mean, really godawful, expensive, explosive meh. Jesus…this film didn’t need to try and compete with Spiderman or whatever the superhero flavor of the week is.

The writers (God, the writers…) of this film are not worth their weight in rancid butter. I heard rumors that the dialogue was bad. Truth is, it is dry-heave bad…but mainly near the end of the film (the last quarter).

Next time, spend $200 mil. on a single, competent writer (Pynchon perhaps) and <$1 mil. on stunts and CGI. This film experiences a leveraged shite effect throughout. Oh, by the way…the opening scene in Mexico City is probably the weakest part of the film. I would rather see Daniel Craig take a moist crap on a silver platter.

But let’s be fair…

This film tried. It had grand aspirations. SPECTRE…yes, bringing it all back home. Establishing credibility from New World Order to Snowden. Awesome. Well-done in that regard.

As for the execution…for fuck’s sake.

I’d rather have a clumsily-performed lobotomy than watch this film again any time soon.

The biggest upside of the film is Léa Seydoux. Ok, so casting got one thing right. It almost makes up for Christopher “The Last” Waltz.

There are very important themes addressed in this film. This could have been a light for liberty. Someone sabotaged it. Find that corporate person and you have found the real head of the real SPECTRE.

This film goes beyond film. Which is not to say it doesn’t have its problems. Like the protagonist, it does. But let me tell you why this film is worth it. No…you know what? This is fucking bullshit! That’s not the way to review a film. This is.

It’s gotta come from the heart and mind. Depend too much on the mind and you miss the beauty. Secrets make you sick. Must be a whole lot of sick people in Langley, Virginia and Fort Meade, Maryland. Go on, look it up. It’ll do you good. But for you lazy bums, that’s the CIA and NSA.

I read about the CIA all the time. Why? I’m only answering limited questions today. But suffice it to say that both of these spy agencies are pretty interesting. Don’t you think?

Well, so that’s one of my secrets. It’s not really a secret. It’s pretty transparent. But maybe not. So, there. Like Robert Creeley said. There you have it.

It’s very hard to not drop into John Berryman testimonial mode when talking about this film (oh yeah, this is a film review…duh!).

First things first: you gotta love a film that premieres at the Omaha Film Festival (!) Just knowing that Omaha has a film festival makes me feel a little less depressed about my life and the shitty town I live in (San Antonio).

And so…our setting: Orlando. It’s like an outtake from Mister Lonely–Cinderella smoking a cigarette at the bus stop. Headed to the theme park presumably… It’s certainly begging for a Harmony Korine touch, though director Nathan Frankowski does a nice job handling this priceless aside in more of a Terry Zwigoff way.

Wow. Somebody needs to give the Wikipedia page for TWLOHA (the movie) some love. I mean, Jesus! A three-sentence plot summary??? There’s lost silent films which have more detailed synopses on Wiki than this!

So I guess my first inclination was correct: speak from the heart.

Well God damnit! There are some priceless moments in this film. The secret weapon is Rupert Friend. I’ll be damned if he doesn’t strike a stake right to my heart…fondling that pocket watch… It’s no jive-ass MC5 John Sinclair rave-up testifyin’ going on. This is some real shit.

For all of the snobs (like me) in the audience: you gotta give this film time. Clear from your mind the unpleasant parallels to the CGI of What Dreams May Come and The Lovely Bones. IT GETS BETTER.

That said. How? Well, once again Ms. Kat Dennings hits a home run. This is no easy role. It’s a tough, tough, TAXING role to embody with anything even approaching Method Acting. But I have a sneaking suspicion that Dennings felt this role naturally (to a certain extent).

How does this film go beyond film? Because. Ghost World was a masterpiece. Nick and Norah’s Infinite Playlist was perfection for its genre (young adult comedy romance). Charlie Bartlett was a mini-masterpiece…a damn good film. Hell! Daydream Nation was pretty fucking good too. But TWLOHA moves into the social realm…because it touches on depression and substance abuse (not to mention the cutting words of the haiku title) in a real, sobering way. No pun intended. At least not the sober one.

Yeah. What does this mean for you, dear WordPress blogger…or for someone who stumbled across this article? It means you are powerful beyond your wildest belief.

Every time you commit your precious thoughts to the page and share them with people (comma) you are saying the only stuff that people believe anymore.

It doesn’t mean you can talk about reptilians and be taken seriously (no offence to my reptilian theorist brothers…and sisters). No, it means that the only people who have CAPITAL in SINCERITY are everyday people like me…and YOU.

We don’t believe the lies anymore. We’ve swallowed so many damned secrets that we’re sick to death. We can’t sleep. But we are fucking powerful! Hillary Clinton knows it. Zbigniew Brzezinski knows it. I’m not sure if David Rockefeller knows it. Nor George H.W. Bush.

That’s ok. They came from a different generation. Hell…I’m not even a “digital native”… Not a Millennial. I guess I am part of that lamentable flannel fuzzed Generation X. I hyphenate when I damn well please.

I make inside jokes that only I get. I don’t have any friends. Not anymore. But I have family. I have cats. Some days I think my best friend is an extraterrestrial in Turkey. Or a classmate from Iran. But most days my best friend is an actor or an actress.

CGI, like fake boobs, does not age well. But let us back up to all of the ridiculous indoctrination which precedes the failed geekery of late in the film. This James Bond movie has many reeducation moments, but they emanate not from the North Korean characters but rather the film’s shadow auteurs. Let me demonstrate.

Yes, dear friends…Hollywood considers you a bunch of fucking chimps. And when it comes to films with a lot of heavy weaponry, you can bet the transnational military-industrial complex had a large role to play in the production.

North Korea hacked Sony? Gimme a fucking break! That was a self-inflicted publicity stunt. The only problem is the collusion of intelligence services which are always tasked with finding the next suitable enemy. The CIA, MI6, NSA, and every other alphabet agency in the Anglo-American “five eyes” network have become nothing more than glorified traffic cops…fulfilling their ticket quotas.

Why will the new world order fail? Because they do not employ the best artists. Sure, there are forgery artists on staff of these intel agencies, but not the artists needed to fool the world. There are no Charlie Chaplins, no Orson Welles, no Pablo Picassos, no Igor Stravinskys… And so the global elite circuitously churn out these propaganda films which age as fast as Cheez Whiz or Silly String. They count on audiences being stupid…both uneducated and willfully stupid (in combination).

Lee Tamahori actually does a worse job directing than Michael Apted did in the last half of the previous Bond film, though sadly the mise-en-scène is almost indistinguishable.

Now that I’ve gotten that out of my system (yay! free speech), let’s talk about what is salvageable. Zao. Diamond acne. That’s pretty good.

Torture in the opening credits. Very innovative (and true to the spirit of the first Bond novel Casino Royale). Bond’s dereliction of duty (if it can be called that) echoes the wonderful message of License To Kill (1989), yet what follows is mostly hackneyed storytelling.

Halle Berry’s emergence from the ocean like the reincarnation of Ursula Andress circa 1962 seems to bode well, but it is simply a rare moment of excellence in a sea of shite.

Further indoctrination follows in that Berry is supposedly an NSA agent. In all my years reading about the NSA (from James Bamford to Wayne Madsen), never have I encountered even a hint of the kind of agent she is purported to be. This leads me to believe that the whole purpose was to make No Such Agency seem cool and acceptable knowing that the PATRIOT Act was now letting them eavesdrop the shit out of your lives. They knew such a steamroller approach would eventually result in public backlash. And it did. NSA agent… Gimme a fucking break…

And then of course there’s the nice little mention of Sierra Leone. We’d be revisiting that country as “liberators” from a biowarfare agent called ebola before too long.

Yes, I know, dear reader: these sound like the thoughts of a raving lunatic. I urge you to investigate…really investigate. Investigate to the point you are scared…and then investigate some more. Can you afford it? We dispossessed of the earth have nothing to lose.

I could talk about Madonna’s bad acting. Actually, I like Madonna. It’s just horrible fucking directing. To the director’s credit, the scene seems pressured from above…like a goddamned product placement.

Graves ice palace looks like a cross between the Sydney Opera House and a frozen McDonald’s. What a pathetic piece of set design.

Conversely, kudos to the thinkers behind the hypersonic wedding ring.

But these fucking car chases…it’s like Top Gear. What a load of uncinematic crap!